a No. 495. APULEIA IN SEARCH OF APULEIUS. An extensive hilly landscape: in the middle distance a large bridge of seven arches over a river, with rich woody banks: watermill and town on the spectator's right. In the foreground are Apuleia and her companions, and some peasants reposing in the shade of a tree. In this part of the foreground is inscribed on the picture, Apuleia in search of Apuleius, learns from the swain the cause of his metamorphosis. One of the peasants is pointing to the name APULEIUS carved in the bark of the tree. Apuleius was a distinguished philosopher and advocate of the second century of our era, and was the author of the celebrated romance entitled "The Metamorphosis, or the Golden Ass," in which he represents himself as transformed into an ass. The incident, however, represented in this picture, is not in the story of Apuleius. On canvas, 4 ft. 9 in. h. by 7 ft. 9 in. w. This picture, exhibited at the British Institution in 1814, was painted as a companion to the celebrated Claude in the possession of the Earl of Egremont, at Petworth, Sussex, of which there is an engraving by Woollett. TURNER COLLECTION. No. 496. BLIGH SAND, NEAR SHEERNESS, FISHING BOATS TRAWLING; a cloudy sky. Painted already in 1809; exhibited at the Royal Academy in 1815. On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. w. Engraved by R. Brandard. TURNER COLLECTION. No. 497. CROSSING THE BROOK. An extensive landscape; a view of the Tamar which divides Devonshire and Cornwall, looking towards Plymouth and Mount Edgcumbe; the bridge above Calstock in the middle distance. In the * The catalogue of the British Institution for 1814, refers to Ovid's Metamorphoses for this story; it is, however, not one of Ovid's. Lucius, or the Enchanted Ass, of Lucian, preceded the "Golden Ass" of Apuleius, but both are subsequent to Ovid. The personage, "Apuleia," and the incident represented, appear to be equally the painter's own invention. "Palaestra in search of Lucius," or "Fotis in search of Apuleius," would be more in accordance with the classic tales. foreground are two girls, and a dog carrying a bundle in his mouth across a brook. Engraved by R. Brandard; and by W. Richardson for the "Turner Gallery." On canvas, 6 ft. 4 in. h. by 5 ft. 5 in. w. Under glass. Exhibited at the Royal Academy in 1815. TURNER COLLEC TION. No. 498. DIDO BUILDING CARTHAGE; or the Rise of the Carthaginian empire. A river scene, with the sun in the centre of the picture; a bridge in front, and piles of classic architecture, completed and in progress, on either side; high banks and rocks in the background. Dido, Queen of Carthage, is seen surrounded by her people on the left : on the right is the monument to her murdered husband, Sychæus. Engraved by T. A. Prior; and by E. Goodall for the "Turner Gallery," On canvas, 5 ft. in. h. by 7 ft. 5 in. w. This picture and the "Sun rising in a Mist," (both for the present at Trafalgar Square) were bequeathed by Turner to the National Gallery, on condition that they should be hung between two Claudes now placed by their side. The "Dido" was exhibited at the Royal Academy in 1815. It is inscribed on the extreme left, "Dido building Carthage, or the Rise of the Carthaginian Empire," with Turner's name and the date of the painting. TURNER COLLECTION. 66 No. 499. THE DECLINE OF THE CARTHAGINIAN EMPIRE. Hostages leaving Carthage for Rome: approaching sunset. Rome, being determined on the overthrow of her hated rival, demanded from her such terms as might either force her into war or ruin her by compliance; the enervated Carthaginians, in their anxiety for peace, consented to give up even their arms and their children." "The chieftain's safety, and the mother's pride, On canvas, 5 ft. 7 in. h. by 7 ft. 11 in. w. Royal Academy Catalogue. Exhibited at the Royal Academy in 1817. Engraved by J. B. Allen. TURNER COLLECTION. No. 500. THE FIELD OF WATERLOO. June 18th, 1815. "Last noon beheld them full of lusty life, Last eve in beauty's circle proudly gay; The thunder-clouds close o'er it, which, when rent, Which her own clay shall cover, heaped and pent, Byron. In the foreground are women searching by torchlight, among the dead and dying, where rider and horse, friend and foe, lie piled one upon another on the bloody field: to the right is the chateau of Hougoumont still burning; in the distance are rocket signals guiding the pursuit of the routed army. Engraved by F. C. Lewis. On canvas, 4 ft. 9 in. h. by 7 ft. 9 in. w. Exhibited at the Royal Academy, in 1818. TURNER COL LECTION. No. 501. THE MEUSE. ORANGE-MERCHANTMAN GOING TO PIECES ON THE BAR. Briel church bearing south-east by south, Maas-Sluis east by south. Boats unloading the wreck, and fishermen picking up oranges in the river. Showery weather; a fresh breeze blowing. Engraved by R. Wallis. On canvas, 5 ft. 7 in. h. by 7 ft. 101 in. w. Exhibited at the Royal Academy, in 1819. TURNER COL LECTION. No. 502. ENGLAND, RICHMOND HILL, ON THE PRINCE REGENT'S BIRTH-DAY. "Which way, Amanda, shall we bend our course? Thomson. In the foreground is a numerous party, occupied in dancing and other pastimes: in the distance is the extensive landscape, as seen from the hill. On canvas, 5 ft. 10 in h. by 11 ft. w. Exhibited at the Royal Academy, in 1819. TURNER COL LECTION. No. 503. ROME FROM THE VATICAN, RAPHAEL AND THE FORNARINA IN THE CORRIDOR OF THE LOGGIE. Immediately in front is the Piazza of St. Peters, beyond which are seen the castle and bridge of St. Angelo, with the greater part of modern Rome; and in the extreme distance the Apennines, the higher summits being covered with snow. On canvas, 5 ft. 91⁄2 in. h. by 10 ft. 11 in. w. Engraved by A. Willmore. Painted in 1819-20, from a sketch made in Rome in 1819 Exhibited at the Royal Academy in 1820. TURNER COLLECTION. No. 504. ROME, THE ARCH OF TITUS AND THE CAMPO VACCINO, SEEN FROM THE COLOSSEUM. A religious procession in the middle ground. "This was the Roman Forum." Rogers. "The Forum, where the immortal accents glow, And still the eloquent air breathes-burns with Cicero ! "There is given Unto the things of earth, which time hath bent, For which the palace of the present hour Must yield its pomp, and wait till ages are its dower." Engraved by E. Challis. 5 in. w., arched top. Childe Harold's Pilgrimage. On canvas, 4 ft. 2 in. h. by 7 ft. Painted about 1820, from a sketch made in Rome, in 1819. TURNER COLLECTION. No. 505. THE BAY OF BAIE, APOLLO AND THE SIBYL. "Waft me to sunny Baia's shore." The two figures to the left seated in the shade of the tall pines have reference to the story of the Cumaan Sibyl, who, enamoured by Apollo, procured from him the gift of a fatal longevity; he granted her to live as many years as she held grains of sand in her hands, but as she omitted to ask for perpetual youth at the same time, she had gradually wasted away until her mere voice alone was left. She dwelt in this neighbourhood between the bay and the lake Avernus, in a subterraneous cavern. The view represents one of the most beautiful spots in Italy; Horace already celebrated this bay as without a superior in the world. Nullus in orbe sinus Baiis prælucet amenis." The castle of Baiæ from which it takes its name is seen to the right; and on the opposite side of the bay is seen the distant Pozzuoli, the Puteoli of the Romans. 66 On canvas, 4 ft. 9 in. h. by 7 ft. 9 in. w. Engraved by R. Brandard. Exhibited at the Royal Academy in 1823. TURNER COLLEC TION. No. 506. CARTHAGE, DIDO DIRECTING THE EQUIPMENT OF THE FLEET, or the morning of the Carthaginian empire. A river scene, with piles of rich architecture on each side. "The bright sun was in the firmament, A thousand shadows of a thousand hues Chequering the clear expanse." On canvas, 4 ft. 11 in. h. by 7 ft. 5 in. w. Rogers. Exhibited at the Royal Academy, in 1828. Originally painted for Mr. Broadhurst. TURNER COLLECTION. No. 507. SCENE FROM BOCCACCIO, commonly called the BIRD-CAGE, and sometimes the GARDEN OF BOCCACCIO. A shady glen with pleasant slopes, and many figures lounging about and in conversation; at the extremity of the glen is seen a white castle. A birdcage, a prominent object, which is lying on the grass in the foreground, seems to have reference to the title given to this picture by Turner in the Royal Academy catalogue,-" Boccaccio relating the tale of |